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Every Day's a Holiday is a Cliff Richard musical without the Bachelor Boy himself.

It even has Ron Moody and Richard O'Sullivan who appeared in some Cliff Richard musicals.

Freddie and the Dreamers play some crazy cooks, in essence they take on the role of the Shadows.

The story involves a group off teens taking a job at a holiday resort and take part in a talent competition that will be televised.

Gerry Pullman has fallen for a girl but find himself dealing with a rival. The story is flimsy and silly.

The film is a little too cheesy and a bit of its time period. There is mirror scene where Gerry riffs Frank Sinatra but the Al Jolson scene is unfortunate. The cinematography is by Nicolas Roeg which is a plus for the movie.

It also has too many songs and they are rather forgettable, unlike say the songs in Summer Holiday.

However it does have some interesting dance numbers from choreographer Gillian Lynne.

It's a rags to riches tale of 3 guys & 4 gals who meet while working at a holiday camp and end up entering and winning the annual talent contest. Everything moves along rather too quickly - the plot where Gerry (John Leyton) falls for the girl, loses the girl to Tim (Mike Sarne) and then is reunited with her happens in an instant and the fact that the group, The Lucky Seven, beats Freddie & the Dreamers in the contest is a bit too unbelievable and smacks of a touch of vote rigging. Still ... on the whole it is a very entertaining film.

The songs are a bit corny but feel-good - the best being the gorgeous Baker Twins' "Romeo Jones" and the title song (although some of the lyrics should have been revised as they don't quite fit in with the music). I would also have to say that the serenade by Tim to Christina ("Indubitably Me") is incredibly catchy.

I first saw this movie around the end of the 70s and have to admit that my sister and I used to watch it on tape at least once a day. I was gutted when someone taped over it but am happy to say I have a new copy.

The film was re released in the early 80s as 'The Adventures of Tim' which is not surprising as, although Sarne's Character isn't really supposed to be the main one, he is hilarious throughout and steals every scene he is in.

If you want a film to cheer you up on a wet Saturday morning - you could do a lot worse than this one.

Despite the hype at the time of its release, this musical offering was never particularly good and, if you are expecting to hear any classic sixties tracks, then go and buy a CD. For the most part the music consists of numbers which you would be disappointed to find on the 'B' side of a single. The dancing is similarly uninspired - the usual (for the time) jumping up and down and from side to side with arms outstretched, rather like a manic aerobics session. The love triangle and older versus younger generation plot is simplistic. The acting is variable with stalwarts such as Ron Moody, Liz Fraser and Michael Ripper there to balance the less able pop artistes. However, as a piece of sixties nostalgia,particularly with its holiday camp setting, the film is well worth a look and Freddie and the Dreamers are always value for money.

Other than the justly celebrated films of Cliff Richard and The Beatles, British pop musicals of the early 60s are not highly esteemed. They are generally seen as having been blatantly derivative at the time and hopelessly dated now. If "Summer Holiday" and "A Hard Day's Night" represent the very best of this somewhat narrow genre it is likely that "Every Day's A Holiday" would be considered - if at all - as one of the very minor also-rans. Having watched a recent repeat of this film, however, I found it highly entertaining. In essence it is a Cliff Richard film without Cliff, who is replaced, insofar as he can be, by John Leyton, a young actor-turned-pop star (and sometime Joe Meek protege). As in the Cliff films, the musical numbers are strung along a purposely lightweight romantic plotline, and both Ron Moody and Richard O'Sullivan are held over from the Cliff entourage. The cinematography, courtesy of a young Nic Roeg, makes this film a pleasure to watch, and the musical numbers, if undistinguished by the high standards of The Beatles and Cliff, are enjoyable. As in so many films of this period, the choreography - performed by an accomplished dance-troupe - betrays the unmistakable influence of "West Side Story". The likeable cast includes Mike Sarne, Grazina Frame, Liz Fraser, Nicholas Parsons, the late Michael Ripper and the late Hazel Hughes. Sarne (improbably but effectively cast as a young aristocrat-about-town, Tim) vies with the decently working-class Gerry (Leyton) for the attentions of the no less high-born Christina (Frame). Disappointingly for sociologically-minded film buffs there is only the most superficial investigation of the class issues inherent in the situation, but, of course, this is entirely as it should be in an escapist entertainment of this sort. (Indeed, in the naively optimistic mood of the mid-60s, class was starting to be perceived as not especially problematic, with an overall youth culture transcending such ancient barriers.) Unlike Gerry, who is hopelessly smitten, the vain and self-regarding (but strangely appealing) Tim casts his romantic net rather more widely, notably demonstrating - albeit with somewhat qualified success! - the "beatnik approach" to wooing. His dalliance with holiday camp manager Mr Close's (Charles Lloyd Pack) ripely sexy secretary Miss Slightly (Liz Fraser) prospers somewhat better, given her enthusiasm for sex (made evident early in the film), and her equally evident eventual inebriation. Indeed, in its rather innocent way, "Every Day's A Holiday" is pre-occupied with sex (as distinct from chaste romance) to a far greater degree than most of the youth films of the time; certainly far more than the Cliff films that it otherwise resembles. Most noteworthy among its various set pieces is a mind-bogglingly brilliant and surreal sequence featuring Freddie and the Dreamers as chefs. Nicholas Parsons plays a pretentious and overwrought TV director, first cousin, so to speak, to Victor Spinetti in "A Hard Day's Night", although from internal evidence (an allusion to Harold Macmillan during a bingo game), "Every Day's A Holiday" would seem to be the earlier of the two films. In addition to the "in-house" performers and Freddie and the Dreamers, there is a fleeting appearance by The Mojos. Despite the presence of these two bands, however, the ethos of the film is more Cliff/Shadows/Meek than Merseybeat. Highly recommended.

I vividly recall my grandmother watching Freddie and the Dreamers cavorting about dressed as chefs on her new television and telling us all how much she liked him.

Seen today the biggest surprise the thing offers is the presence of Nicolas Roeg's name on the credits. Butlins at Clacton provides an attractive backdrop, the choreography by Gilliam Lynne is lively, but it's aggressive energy rapidly gets tiring and it seriously shows it's age when the hero sings to himself in blackface.

John Leyton signally fails to build on the profile he recently earned from 'The Great Escape while Mike Sarne is aptly dismissed as "White Fang, king of the woolpack" as the Honorable Timothy Gilpin. But Ron Moody and Michael Ripper make a surprisingly charming singing duo (we're expected to believe that Ripper was once a boy soprano), while Liz Fraser is always good to see.